Oh boy does it ever! From the opening sequence in which Mr. Smith (Clive Owen) inadvertently helps an ultimately doomed woman deliver her baby amid a hail of bullets and then severs the umbilical chord by shooting it you get a pretty clear picture of what you’re in for here. Smith may be the “angriest man in the world ” but he’s also a fairly chivalrous one. Once he has the little tyke in his possession he has no other choice but to protect it from an endless stream of assailants--led by the sadistic Hertz (Paul Giamatti)--engaging in every conceivable permutation of gunfight. Smith even teams up with a prostitute (Monica Bellucci) whose specialty is catering to those men with a fetish for suckling on lactating breasts. She proves very useful in this scenario. Question is why does everyone want this baby dead? Trust me the explanation is stupid and superfluous; it’s the 80-minute shooting gallery that makes this actioner fly. Even though Clive Owen is absolutely spot-on as the hardboiled antihero Mr. Smith the actor must be able to do it in his sleep by now having basically played the same role in films such as Inside Man and Children of Men. And along with Children of Men he’s now pretty good at assisting a woman in childbirth too. Still we love it when he shoots a gun. Giamatti is the one who goes out on a limb in Shoot ‘Em Up. When casting a cold-blooded vicious killer the sweet sad sack from Sideways isn’t your immediate image. Ah but that’s what makes Giamatti such a consummate actor. Flashing a Cheshire cat-like grin and armed with an arsenal of one-liners he doesn’t downplay his nerdy appearance but rather relishes it playing Hertz as far over the top as he can possibly get without looking completely ridiculous—which allows him to say things like “Well f**k me sideways ” with a straight face. Giamatti is a real treat. Bellucci on the other hand is fairly wasted. She’s obviously there to add a feminine touch--being able to feed the baby and all—as well as have raucous sex with our leading man. But her character doesn’t really add anything else to the proceedings. Writer/director Michael Davis really hasn’t had his shot (pun intended) yet. Moving up from the B-movies (anyone heard of Monster Man or Girl Fever?) Davis finally gets to show some of his stuff with Shoot ‘Em Up. Obviously influenced by the Robert Rodriguez and Quentin Tarantinos of the filmmaking world Davis crafts a thrilling action-packed film shot in that gritty style so popular these days. Besides all the gunplay Davis also incorporates a few other creative ways of offing people such as shoving a carrot (something Mr. Smith is fond of eating) into someone’s eye. And well a lactating prostitute is just pure genius. Still it's all about guns which rule supreme as well they should with such a titular title. The four or five gun battles get more spectacular culminating with an aerial shootout after jumping out of an airplane with parachutes. Shoot ‘Em Up however could have used a rewrite by Mr. Tarantino. Sure the purpose of this movie is to show as many guns being shot off in as many ways as possible but a plausible story would have been nice too. Oh well.
Based on the best-selling book by Mark Foster Game tells the remarkable real-life story of Francis Ouimet (Shia LaBeouf). He was a working-class immigrant kid who in the early 1900s turned the privileged world of golf on its ear. The story begins with Francis working as a caddie at a posh country club where he masters the game by quietly practicing on his own. His French-born father (Elias Koteas) thinks he's wasting his time and should be earning an honest wage but Francis is far too smitten with the game to give it up. Francis finally gets his big break when an amateur spot opens up at the 1913 U.S. Open. With a feisty 10-year-old caddie named Eddie (Josh Flitter) by his side egging him on Francis plays the best he ever has. He eventually finds himself facing off against the sport's undisputed champion Harry Vardon (Stephen Dillane) a U.S. Open winner and six-time British Open champion (a record that still stands today). Their legendary battle changes the face of the sport forever--but I wouldn't necessarily call it the greatest game ever.
Game is one of those juicy little biopics actors can really sink their teeth into. Starting with our young lead LaBeouf (Holes) is sufficiently determined as the guy playing against impossible odds. His Francis with his liquid brown eyes and winning smile is full of optimism and raw talent that propels him into the majors. And he looks pretty authentic swinging a golf club too. Still it may be time for LaBeouf to move on from the Disney family fare and do something grittier sort of like what he showed in Constantine. Dillane--who was so achingly good in The Hours as Virginia Woolf's beleaguered husband--also does a fine job as the legendary Vardon a man haunted by his own demons. In a way Game is a story about both men who have more in common than they realize. Although a top professional in the sport Vardon has to fight against the elitist golfing community's prejudices. You see Vardon grew up dirt poor on the plains of Scotland and because of his background was never permitted into any "gentleman's" clubs. The cast of colorful supporting players add to the film especially Flitter as the caustic but encouraging Eddie. He may be small but he packs a wallop. The last shot of the movie features Francis and Eddie walking off the golf course at sunset evoking the classic Casablanca ending line "This is the start of a beautiful friendship"--which apparently really happened. The real-life Eddie and Francis remained friends for the rest of their lives.
The main slice against Game is that it's about golf. Besides comedies such as Caddyshack and Happy Gilmore a serious movie about the game really isn't going to stir your soul say like football or baseball. But actor-turned-director Bill Paxton--who made his directorial debut with the creepy Frailty--takes the story and keeps it convincingly affecting. Much like Seabiscuit it's the real-life historical context that makes Game even more compelling. Paxton painstakingly details how the game was played at the turn of the century--and who was allowed to play it. The whole discriminatory arrogance surrounding the game makes the stakes even higher for our heroes. Vardon had a score to settle while Ouimet simply became the game's new hero paving the way for legendary whiz kids like Tiger Woods to step up on the green. Paxton also views Game as a Western. The final golf round between Vardon and Ouimet is the ultimate shootout á la the OK Corral in which the camera angles are inventive--a bird's eye view of the ball sailing through the air or gliding on the green into the hole. Plus he keeps the tension as taut as he can considering the less than exhilarating subject matter. Oh come on who isn't a sucker for a good sports underdog story even if it is golf?
Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.
Told from the perspective of one innocent maid Mary Macearchran (Kelly MacDonald) the story starts as she arrives at the magnificent country estate of Gosford Park. On this particular weekend host Sir William McCordle (Michael Gambon) and his wife Lady Sylvia (Kristin Scott Thomas) have invited an eclectic group to the house for a shooting party. The guests include Sylvia's two sisters (Geraldine Somerville Natasha Wightman) their respective loser husbands (Charles Dance Tom Hollander) her cantankerous aunt Constance (Maggie Smith) for whom Mary works British matinee idol Ivor Novello (Jeremy Northam) and his American friend Morris Weisman (Bob Balaban) a film producer who makes Charlie Chan movies. As the upper-crust guests bicker about money and power the ranks of house servants personal maids and valets below make sure their charges are well taken care of under the guidance of the head butler Jennings (Alan Bates) head housekeeper Mrs. Wilson (Helen Mirren) and head cook Mrs. Croft (Eileen Atkins). Through Mary's eyes we see that the glamour of the upstairs patrons and the seeming precision downstairs are not all they seem. The two worlds are destined to collide and when they do it leads to only one thing--murder.
One of the joys of an Altman movie is his uncanny ability to take a huge ensemble cast of really good actors and carve out a film from their personal stories. This style can also work to the film's detriment however and in Gosford Park the mostly British cast melds together almost too well. Often you can't even tell who's who. Still with all the talent involved there are at least a few bright moments: Smith as the wisecracking Constance an old lady who's very used to being waited on hand and foot gets all the best lines and delivers them flawlessly and veteran actress Mirren is also brilliant as the staunch Mrs. Wilson. She turns in one of the film's only heartbreaking scenes as her character grieves for the son she gave away long ago in the name of servitude. Also good are MacDonald as the young Mary Clive Owen as the valet Robert Parks who carries more than just a chip on his shoulder and Emily Watson as the headstrong chief housemaid Elsie. Northam too shows off his musical abilities as the suave piano-playing singing Novello. The rest all blend together except unfortunately the two American actors--Balaban comes off as annoying and Ryan Phillippe playing an actor pretending to be Morris' valet is in way over his head.
Interestingly the film is taken from a story idea dreamt up by Altman and Balaban. One wonders if perhaps the two were inspired to create Park after watching an episode of the classic '70s British television drama Upstairs Downstairs which was about a wealthy British household whose servant class had just as many dramas as the people they served (hmm sounds familiar). Sure it's conceivable that two Americans sitting around talking about making a distinctly British movie (and a period piece to boot) could pull it off and with a tremendous talent like Altman attached you'd think it would work. But Park misses the mark. The Altman-esque qualities are all there--the way he interweaves his characters' stories and shows real people with real emotions--but maybe just maybe Altman is simply out of his element. You enjoy the ride but it's not a ride through appealing territory and you're definitely watching from the window as the characters live a life you never really become a part of.
The hip-hop teen romance "Save the Last Dance" starring Julia Stiles and Sean Patrick Thomas dethroned box office champion "Cast Away," earning an estimated $24 million during the Friday-through-Sunday period of the Martin Luther King Jr. four-day weekend, according to estimates by Hollywood.com's box office analyst, Martin Grove.
After three weekends on top, Tom Hanks' "Cast Away" finds itself in the runner-up spot. The film earned $17.2 million, bringing its total to $168 million.
Steven Soderbergh's Golden Globe frontrunner "Traffic" remained in the No. 3 spot with an estimated $11.2 million (its total stands at $35.1 million). Taking two steps down from last week is the Mel Gibson comedy "What Women Want," which took in $10.5 million and has thus far grossed $153.9 million.
The fifth and sixth spots saw a close race between the week's top expanding releases -- "Thirteen Days" and "Finding Forrester." "Thirteen Days," the Cuban Missile Crisis flick starring Kevin Costner, took in $10.2 million, and the Sean Connery film came in just a tad behind with $10 million.
As to the week's other two new major releases, the Orlando Jones and Eddie Griffin comedy "Double Take debuted with $10 million (No. 7) while "Antitrust" -- starring Ryan Phillippe and Tim Robbins -- short circuited at No. 12 with $5.2 million.
Here are the Top 10 films from Friday through Sunday (final four-day figures will be released Tuesday):
1. "Save the Last Dance," $24 million (new) 2. "Cast Away," $17.2 ($168.2 million total) 3. "Traffic," $11.2 million ($35.1 million total) 4. "What Women Want," $10.5 million ($153.9 million total) 5. "Thirteen Days," $10.20 million ($12.3 million total) 6. "Finding Forrester," $10 million ($21.4 million total) 7. "Double Take," $10 million (new) 8. "Miss Congeniality," $9.4 million ($80.6 million total) 9. "Crouching Tiger, Hidden Dragon," $8.2 million ($28.9 million total) 10. "The Emperor's New Groove," $5.7 million ($71.2 million total)